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Thelonious Monk once famously said "the piano ain't got no wrong notes", and this mantra is evident in his playing: full of angular, challenging harmonies combined with a harsh and percussive technique. Though his style of playing was unorthodox, he could also play runs and arpeggios with great speed and accuracy. All in all Monk would prove to be a long-lasting influence on jazz piano. All this is highlighted on 1967's Straight, No Chaser, Monk's sixth album for Columbia. On it, you'll find the album's namesake "Straight, No Chaser", a composition by Thelonious himself that became one of the most important blues-based standards in the jazz repertoire. Furthermore, the album features "Japanese Folk Song", a two-century old tune that Ryan Gosling's character is practicing in the movie La La Land. Charlie Rouse plays the tenor saxophone and the liner notes are writting by jazz writer and producer Orrin Keepnews. Straight, No Chaser is available as a limited edition of 2500 individually numbered copies on crystal clear vinyl and comes in a deluxe, heavy duty sleeve.

On “Cold Sweat,” James Brown famously called to “give the drummer some.” In 1974, Philadelphia vibraphonist Khan Jamal called to Give the Vibes Some, with superb results. Pianist and composer Jef Gilson’s PALM label gave Jamal the platform he needed to deliver a thorough exploration of contemporary vibraphone. After launching PALM in 1973, Gilson quickly demonstrated that he would only produce records not found anywhere else. Give the Vibes Some, PALM number 10, was another confirmation of this guiding principle.



Raised and based in Philadelphia, Khan Jamal took up the vibes in 1968, after two years in the army during which he was stationed in France and Germany. Decisively drawn to the instrument by the work of the Modern Jazz Quartet’s Milt Jackson, Jamal studied under Philadelphia vibraphone legend Bill Lewis and soon made his debuts in the local underground.



Early in 1972, Jamal made his first recording, with the Sounds of Liberation. The band attempted an original fusion of conga-heavy grooves with avant-garde jazz soloing. Saxophonist Byard Lancaster, an important figure in Jamal’s development, contributed much of the solo work. Later in 1972, Jamal made his leader debut with Drum Dance to the Motherland, a reverb-drenched, never-to-be-replicated experiment with live sound processing. Both albums appeared on the tiny musician-run Dogtown label.



“We couldn’t get no play from nowhere. No gigs or recording sessions or anything. So I took off for Paris,” Jamal recalled in a Cadence interview with Ken Weiss. “Within a few weeks, I had a few articles and I did a record date. It didn’t make me feel good about America.” That was in 1974, while Byard Lancaster was recording the music gathered on Souffle Continu’s recent The Complete PALM Recordings, 1973-1974.



Jamal’s record date delivered Give the Vibes Some. At its core, it was an exploratory solo vibraphone album, even if two tracks added (through technological resourcefulness?) a très célèbre French drummer very much into Elvin Jones appearing under pseudonym for contractual reasons. Another track, for which Jamal switched to the vibes’s wooden ancestor, the marimba, added young Texan trumpeter Clint Jackson III. The most notable article published on Jamal during this stay in France was a Jazz Magazine interview. Jamal’s last word there were “The Creator has a master plan/drum dance to the motherland.” “Give the vibes some” could be added to this programmatic statement.

Foehn & Jerome. The duo that does what duo's do best. Born in Austria and based in Berlin, Fabian and Christopher not only produce together, but also perform as a DJ team and run their own label entitled "Perfumed Freedom".

Scuba channels timeless, euphoric energy on his Crosstown Rebels debut, ‘GetUppp’. The Hotflush boss delivers two tracks crafted for the later hours, set for release on 21st November 2025.

Damian Lazarus’ Crosstown Rebels welcomes electronic pioneer Scuba for his first appearance on the label with ‘GetUppp’, a two-track release that fuses the UK artist’s trademark low-end pressure with the euphoric pulse of house. The title track glides on slinking percussion, interwoven with subtle soulful vocal nuances, building an irresistible groove that climbs steadily toward full dance-floor release. On the flip, ‘406 Dub’ dives deeper, a stripped, head-down workout that channels the tension and space of dub techno into something hypnotic, trippy, and captivating.
A producer who has continually defied convention, Paul Rose, aka Scuba, has shaped the direction of underground music for over two decades. From his formative role in the UK’s dubstep movement to his era-defining SUB:STANCE residency at Berghain, he’s evolved through techno, house, and beyond while steering his influential Hotflush Recordings imprint - the launchpad for artists like Mount Kimbie and Joy Orbison. He has also delivered critically acclaimed mixes for DJ Kicks, Fabric, and Ostgut Ton, cementing his reputation as one of electronic music’s most astute tastemakers.
Following his acclaimed Digital Underground live tour across 2024, and his latest headline run across Asia with shows in Kyoto, Nagoya, Tokyo, Koh Phangan, Singapore, Danang, Shenzhen, Shanghai, and Beijing, Scuba returns with fresh energy on ‘GetUppp’ - a record that captures the forward-thinking sound that has made him one of underground electronic music’s most influential figures.

Blue-Note-Produzent Alfred Lion hielt den Pianisten und Komponisten Andrew Hill für ebenso einzigartig
wie Thelonious Monk und dokumentierte seine Musik mit seltener Leidenschaft. Obwohl die Alben, auf
denen Hill ausschließlich eigene Kompositionen präsentierte, damals nicht zu den Bestsellern des Labels
gehörten, ließ Lion ihn zwischen 1963 und 1970 ein rundes Dutzend aufnehmen. “Judgment!” entstand
1964 in einer besonders fruchtbaren Phase, in der der Pianist innerhalb von nur vier Monaten und stets
unterstützt von anderen innovativen Musikern auch die Alben “Black Fire”, “Smoke Stack” und “Point Of
Departure” für Blue Note einspielte.

++ Packende Roman- und Hörspiel-Fortsetzung, brandneues Musikalbum und inspirierendes FantasyAbenteuer für die ganze Familie – „DÄMMERLAND II – Zwischen zwei Himmeln“ greift die Fäden des
gefeierten Erstlings auf und verspricht jede Menge neue Abenteuer ++
Das einzigartige Musik- und Fantasy-Adventure geht in die nächste Runde: Anknüpfend an den sensa- len #2-Charteinstieg im vergangenen Jahr, erscheint „DÄMMERLAND II – Zwischen zwei Him
“ im November 2025! Auch der von Malte Hoyer (Versengold), Hannes Braun (Kissin’ Dynamite)
Annie Hurdy Gurdy konzipierte Nachfolger, der mit einer musikalischen Starbesetzung wie Versen
Joachim Witt, Bülent Ceylan, Eisbrecher, The Dark Tenor, Beyond the Black und vielen weiteren
artet, verspricht packendes Fantasy-Storytelling und den passenden Soundtrack dazu: Der illustri
Fortsetzungsroman „DÄMMERLAND II“ wird flankiert vom gleichnamigen Studioalbum und einem
ren Hörbuch-Highlight für die ganze Familie

NAIVE020 epitomizes what the Lisbon-based label, run by Violet, has become cherished for: imaginative yet timeless, soothing yet moody, melodic yet sonic music. Entitled 'Computer Hermetics', this new record is an EP by Berlin-based UrbnMowgli.

The opening track, 'Fast Love Life', is a 145 bpm electro-bred, breakbeat-driven emotive dancefloor banger. It features menacing stabs juxtaposed with beautiful pads and acid-drenched arpeggio motifs that lend it a oneiric quality. 'Oracle Algorithm' picks up the 303 spirit and delves into trippier territories, densening the dreamlike, expansive atmosphere while infusing the record with electro-driven grit. Closing side A is 'Warschauer Rush-Hour', a futuristik, high-tempo twisted electro banger that's both tough and playful.

'Immaterial Desires' inaugurates side B—an ode to adventurous drum programming and intricate sound design in the form of a percussion-punctuated curveball belter. 'Digital Dawn' brings it all back home to the heart and closes the record with its deepest, most immersive moment, giving us big bass lines that alchemically converse with angelic bleepy melodies as if soundtracking a soulful sci fi movie that doesn't exist yet.

Limitierte Vinyl-Auflage des 2021er Tapes ""Brooklyn Pirates: Neighbourhoods In The Sky, 2014–2021"" (Death Is Not The End), einer Recherche in den Archiven des Radiomoderators David Goren aus Brooklyn, New York. Seit mehreren Jahren erforscht dieser die Piratensender-Community in NYC und produziert Sendungen & Podcasts für BBC World Service und KCRW. In jüngster Zeit katalogisiert Goren seine Streifzüge durch die lokalen Frequenzen mithilfe der Brooklyn Pirate Radio Sound Map (BPRSM) und spürt so den noch immer bestehenden Verbindungen zwischen nicht lizenziertem Rundfunk und der lokalen Nachbarschaftskultur Brooklyns im digitalen Zeitalter nach.

Vorliegende Sammlung vereint Cut-Up-Aufnahmen von wilden Soca-Jams, Kompas über Wahlnachrichten aus Grenada, haitianischen Traueranzeigen und Werbung für jamaikanische Patty-Shops und spirituelle Heiler – samt Sendungen türkischer, orthodoxer und sephardisch-jüdischer Piratensender. Die B-Seite deckt den Zeitraum von Mitte der 2010er bis Anfang 2021 ab und fängt insbesondere die einzigartig eigenwilligen und hyperlokalen Reaktionen der Brooklyn Pirates auf den globalen Zerfall der frühen 2020er Jahre ein – Coronavirus-Pandemie, George Floyd, Biden-Wahl, u.a. – und dient als wichtiges Dokument der Sozialgeschichte, das den Wert von DIY-Community-Sendungen in einer Zeit weltweiter Lockdowns und des völligen Zusammenbruchs der Politik demonstriert.

Tracklisting:

Natural Element proudly presents the long-awaited album The Paradigm Shift by one of Amsterdam’s finest and most prolific producers, Kid Sublime. Following on from the 12” single ‘You Got Me Runnin’’ which dropped in the summer, this 8 track, double LP offering is a special piece of work crafted during the pandemic years and Turbulence recording sessions with maestros Beka Gochiashvili and Mishulino.

The album showcases the evolution of Kid Sublime’s sound and the influence of London’s vibrant broken beat scene, with him having connected with some of the artists around the time of the passing of the legendary Phil Asher. It touches on house, bruk and even techno, with his signature soulful touch palpable across the whole record. Features include talented London artist Oliver Night, Sydney-based vocalist Natalie Slade and long time collaborator, flautist Han Litz, amongst others.

The Paradigm Shift takes you on a deep sonic journey straight from the heart, celebrating love, connection, spirituality and human evolution. There’s introspective moments with the jazzy house drifter ‘The Awakening’ and the dubbed out bass of ‘Kingz’, as well as joyful moments such as the uplifting ‘Heaven’s Glory’ and the romantic ‘Stay Over’, which is as soulful as it gets. ‘Bring It Come’ brings some minimal bruk flavours reminiscent of Bugz in the Attic, and the title track takes things a bit darker with a club-ready roller.

Sitting somewhere between the living room and the dancefloor, this album is sure to enliven the spirits of many a discerning listener and bring some much needed radiance and hope into people’s lives.

40 Jahre ”Welcome To The Pleasuredome”!
Diese Jubiläumsausgabe, die erstmals in Zusammenarbeit mit der Band selbst zusammengestellt wurde,
enthält 28 unveröffentlichte Titel und nimmt den Hörer mit auf eine Reise von den frühesten Demos und
BBC Radio One Sessions der Band über die Singles bis hin zum Album und darüber hinaus.
Jede CD enthält seltene und in den meisten Fällen unveröffentlichte Versionen von Songs, die den Goldstandard der Musik der 80er Jahre darstellen.
Der weltbekannte Künstler, Produzent und Remixer Steven Wilson hat einen Atmos-Mix sowie Stereound 5.1-Mixe für die Blu-Ray beigesteuert. Das Booklet wurde von Philip Marshall gestaltet und enthält
seltene Fotos und Erinnerungsstücke sowie eine Zeitleiste zum Aufstieg der Band zum Ruhm mit Beiträgen
aller Mitglieder von Frankie Goes to Hollywood.
Darüber hinaus erscheint ein Deluxe-2CD-Set, welches das neu gemasterte Album sowie Versionen aus der
Session und eine Auswahl von Outtakes enthält. Die beiden CDs werden in einem 8-seitigen Digipak mit
einem 20-seitigen Booklet präsentiert.
Außerdem wird es ebenfalls das Album mit Steven Wilson Mix als Remaster auf 2LP geben.
Ab dem 31. Oktober erhältlich!

Hyas & Pura Pura return with No More Afterparties, a record that takes their mutant club sound to new heights.

Baltimore grooves, footwork energy, broken rhythms, reese-laden basslines, and dubwise pressure run through six tracks built for late nights and dark rooms.

DJ Swisha joins for a standout feature, rounding off a release on 99cts Records, the imprint curated by Miley Serious.

Secretsundaze’s recently minted 9FINITY continues its stellar run of explorations into the outer regions of modern club music with an imprint debut from fast-rising talent Milès Borghese.

Borrowing elements from early Detroit techno, and Perlonized minimal, the ‘Antic Drive’ EP distills the German-born, Austria-based producer’s broad spectrum of influences into a highly functional, club-ready collection of tracks that perfectly fits the imprint’s modus operandi.

The A-side kicks off with ‘Do You Ever Fantasize’, a deep club tool built around the vocal sample of the title and punctuated by building drums, alien sonics at every turn, and a mean, highly danceable bassline to boot. The peak time worthy ‘Sustain’ follows an impressive opening, as an incessant mind-looping hypnotic groover aimed straight at the floor.

The EP’s title track ‘Antic Drive’ opens up the flip. Leaning on subtle textures and almost off kilter percussion, minimal broody deepness is the motive here. Borghese’s impressive first outing wraps up with ‘Mateo Does’, a driving rhythm-heavy track built for late nights and early mornings.

As always - the U JAZZ ME vinyl is numbered to 100 copies and it was pressed on 180g black wax.

Music was composed and produced by Bartosz Weber (guitar, electronica) with creative aid of Michał Fetler (saxophones) & Jacek Prościński (drums).

This Molar record was created in a few stages. First it was substantial to find creative means which would spark the new material. The Polyend Tracker was perfect for that as it is both simple and surprisingly fresh. Only after that I applied my favourite environment and comfortably sat in my digital domain. The next stage was to find kindred spirits who share the same mental and musical sensibility. Michał Fetler and Jacek Prościński seemed to fit like a custom-made rubber glove. It was equally important that they are excellent and experienced musicians as well as good humans. Fetler brought his own sensitivity and ideas, we tried sampling his instruments live which you can hear in quite a few places on this record. We still apply this technique during performances. His contribution is best heard in Berry Teaching, or Stimulating Labourer. In both cases he starts the fun and I enter sampling and answering to his parts. Jacek Prościński fits the bill both in terms of his creative approach and contagious enthusiasm. His style also encouraged me to pick up the guitar and completely change a few parts which led to a more extreme ending in Brav0o (initially it was played on synths and calmly faded out into oblivion). What more is there to do than sit back (or stand up, run, float or fall, whichever you prefer listening to music) and enjoy this selection of audio extravaganza.

As a label, we are specialists in musical diversity. With our newest installment of the annual System 108 compilation we present you two parts of hand picked creative output by our friends, residents and dearest guests. Curated by the artist Ira Bespalova, the concept of both parts is simple and deep: the good, the calm, the kind is part 1 and all anti-heroes, filthy electro-armored jams is part 2. All together - another twist of the planet, another beat of our big heart, that became shelter and home home for a whole new tribe. It pumps, it creates, unites and warms up, kicks it real hard, no matter how tough it is. Part 1 is densely populated by our new kids on the block! Isktrit, TURBOSH, BORIS REDWALL, DJ Yesyes, Dominique Mara have been releasing singles, EP's and album during 2023 and became an integral part of the collective. Here you will also find good old friends Maksimovna, Lipelis, Kito Jempere. Very special Siberian inspired trippy workout by RLGN and Sasha Kustov, Luchshiy Drug. And a super special guest appearance starring Magnus Opus and mo?se?. The running order is curated as a narrative, as an album that takes you on a journey. But separately, it all works as singles, DJ tracks and tools. Welcome to Nine Years Of Love!

Mutant, in partnership with Sony Masterworks, is proud to present the soundtrack to this spring's runaway sensation - the Various Artists soundtrack to Ryan Coogler's SINNERS

The album is executive produced by the film’s composer Ludwig Göransson (who also serves as an executive producer on the movie), Coogler & Serena Göransson and features original songs and recordings by Miles Caton, Rod Wave, James Blake, Don Toliver, Brittany Howard, Raphael Saadiq, Hailee Steinfeld, Rhiannon Giddens, Buddy Guy, Cedric Burnside, Eric Gales, Christone “Kingfish” Ingram, Jerry Cantrell, Iarla Ó Lionáird, Lola Kirke, Bobby Rush, Peter Dreams, OG DAYV, Jack O’Connell, Sharde Thomas-Mallory & others. 

The soundtrack is available digitally from Sony Masterworks (visit Amazon or any other major digital music services to stream/download). 

Mutant, and Sony Classical will also release a second album featuring original score by Academy Award® winning composer Ludwig Göransson.

SINNERS is written and directed by Coogler and stars Michael B. Jordan, Hailee Steinfeld, O’Connell, Wunmi Mosaku, Omar Benson Miller, Jayme Lawson and Delroy Lindo. The Proximity Media production will be released in theaters nationwide on April 18 by Warner Bros. Pictures.

On The Arboretum, Analogue Attic co-founder Alex Albrecht leans further into the dancefloor, channelling the more hypnotic and driving energy that Butter Sessions is known for. Across the five tracks, listeners are treated to Albrecht's signature melody-driven deep house, bolstered by intricate rhythms, a deeper low end, and hypnotic loops designed for larger systems and later hours.

The tracks are playful yet serious, functional yet full of personality. There's the joy of long blends and the tiny details that bubble up in the mix: field recordings from time spent away, nostalgic archival material, and subtle harmonic shifts that keep the tension simmering.

It's a record built for dancers, but also for home listening. By embracing a tougher, more energetic sound, this release expands Albrecht's sonic world while staying true to the textural depth and sense of journey that run through all his work.credits

The third installment in Lance Ferguson's acclaimed Rare Groove Spectrum series builds on the success of Vol. 1 & 2, offering a fresh set of reimagined classics. From '70s Australian jazz-funk and Latin-fusion to big band soul and golden-era funk, Ferguson blends crate-digger sensibilities with modern studio craft.

Standout cuts include bold reworks of Idris Muhammad, Billie Eilish, Jungle, Billy Brooks and more, with the focus track "Losalamitoslatinfunklovesong" delivering a Gene Harris reinterpretation infused with Bossa Nova and Brasil '66 flair. Showcasing Ferguson's mastery as a multi-instrumentalist and arranger, the album brims with rich, cinematic productions throughout.

Selling Points

Known for projects The Bamboos, Menagerie, Lanu — widely regarded as one of Australia's most versatile producers.
Previously released 45 full-length albums and 100+ singles/remixes across labels including Atlantic, Universal, Sony, BMG, Tru Thoughts, and Ubiquity.
7× ARIA Award & 5× APRA Music Award nominations.
Co-writer/producer of the global hit "This Girl" by Kungs vs Cookin' On 3 Burners
#1 in 10+ countries
1.27 billion Spotify streams & 545M YouTube views
Multi-Platinum & Diamond certifications worldwide.
Collaborations with Aloe Blacc, Roy Ayers, Alice Russell, Durand Jones, Quantic, Joey Dosik and more.
Music featured in 200+ compilations and major syncs, including CSI NYC, Grey's Anatomy, Homeland, Suits, and House of Cards.

Debt is a new album by Harvey Sutherland about the cost of doing business in the meme economy. In his first LP since the 2022 debut, Boy, the Australian artist reduces his fusiony disco repertoire to ten microhoused funk essentials. This is minimalism not so much as aesthetic conceit than pressurised container, shaken in the Escherised time and space unique to our overdriven, red-lining present. The album's title nods to the financial contortions necessary to strive/survive/thrive as an independent artist. But Debt is better understood as the ledger of what we owe, and to whom, in the course of a creative life. What's the ROI on being an artist, a son, a friend, a partner, a father? Have we been worth our loved ones' own investments? If that sounds transactional, this is merely the lingua franca of our overwhelmingly digital culture, a grifter's bazaar in which Bob Dylan tunes up over Salt Bae, and Wordsworth's pitch is opposite the Rizzler.

Debt came to life when Harvey Sutherland acquired a freightload of Y2K minimal cargo from Akufen, Ricardo and Baby Ford—courtesy of local Melbourne hero Martin L—which bent the album towards a moreish pointillism. The resulting music's eyes-down minimal gestures within expressive pop shapes feels apt for the apparently contradictory things we can't help craving: immediacy and craft, on-tap "authenticity," life lessons drawn from Reel nonsense. A few years after the "neurotic funk" of Boy, a thorough excavation of interiority that comprised Harvey Sutherland's first LP proper, Debt is his to-the-point response to pressures that manifest outside the self. But in its own way it remains a reflection of Harvey Sutherland's musical innerscapes, which stretch across the grit and glitter of private-press disco and the sensual grids of Metro Area.